Western European and domestic origins of acmeism presentation. Acmeism acmeism (from the Greek akme - the highest degree, peak, flowering, flowering time) is a literary movement that opposes symbolism and arose at the beginning. Presentation on the topic: Acmeism - Litera

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Acmeism Performed by: Biketov E. Kropachev O.

The concept of acmeism Acmeism is a literary movement that opposes symbolism and arose at the beginning of the 20th century in Russia. Acmeists proclaimed materiality, objectivity of themes and images, the accuracy of the word.

As a literary trend, acmeism did not last long - about two years (1913-1914). The formation of acmeism is closely connected with the activities of the "Workshop of Poets". Acmeism consisted of six of the most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. At different times, G. Adamovich, N. Bruni, G. Ivanov, N. Klyuev, M. Kuzmin, E. Kuzmina-Karavaeva, M. Lozinsky, S. Radlov, V. Khlebnikov took part in the work of the "Workshop of Poets". At the meetings of the "Workshop", in contrast to the meetings of the Symbolists, specific issues were resolved: "Workshop" was a school for mastering poetic skills, a professional association. The creative destinies of poets who sympathized with acmeism developed in different ways: N. Klyuev subsequently declared his non-participation in the activities of the community, G. Adamovich and G. Ivanov continued and developed many principles of acmeism in emigration, acmeism did not have any effect on V. Khlebnikov noticeable influence.

The formation of acmeism is closely connected with the activities of the "Workshop of Poets", the central figure of which was the organizer of acmeism N. Gumilyov. The term acmeism was proposed in 1912 by N. Gumilyov and S. Gorodetsky: in their opinion, the symbolism in crisis is being replaced by a direction that generalizes the experience of its predecessors and leads the poet to new heights of creative achievements. The name for the literary movement, according to A. Bely, was chosen in the heat of controversy, N. Gumilyov picked up accidentally thrown words and christened a group of poets close to him acmeists. The gifted and ambitious organizer of acmeism dreamed of creating a "direction of directions" - a literary movement that reflects the appearance of all contemporary Russian poetry.

A. Akhmatova's acmeism had a different character, devoid of attraction to exotic plots and colorful imagery. The originality of the creative manner of Akhmatova as a poet of the acmeist direction is the imprint of spiritualized objectivity. Through the amazing accuracy of the material world, Akhmatova displays a whole spiritual structure. In delicately drawn details, Akhmatova, as Mandelstam remarked, gave "all the enormous complexity and psychological richness of the Russian novel of the 19th century." The poetry of A. Akhmatova was greatly influenced by the work of In. Annensky, whom Akhmatova considered "a harbinger, an omen, of what happened to us later." The material density of the world, the psychological symbolism, the associativity of Annensky's poetry were largely inherited by Akhmatova.

Mandelstam's acmeism is "the complicity of beings in a conspiracy against emptiness and non-existence." The overcoming of emptiness and non-existence takes place in culture, in the eternal creations of art: the arrow of the Gothic bell tower reproaches the sky with the fact that it is empty. Among the acmeists, Mandelstam was distinguished by an unusually sharply developed sense of historicism. The thing is inscribed in his poetry in a cultural context, in a world warmed by “secret teleological warmth”: a person was surrounded not by impersonal objects, but by “utensils”, all the mentioned objects acquired biblical overtones. At the same time, Mandelstam was disgusted by the abuse of sacred vocabulary, the "inflation of sacred words" among the Symbolists.

Questions of religion and philosophy, which acmeism shied away from in theory (A. Blok blamed the acmeists for their absence), received a tense sound in the work of N. Gumilyov, A. Akhmatova, O. Mandelstam. The acmeistic period of these poets did not last long, after which their poetry went far into the realm of the spirit, intuitive revelations, and mystery. However, the titanic questions of the spirit, which were in the center of attention of symbolism, were not specially pointed out by the acmeists. The main accomplishment of acmeism as a literary trend is the change in scale, the humanization of the literature of the turn of the century that deviated towards the gigantomania. The proportionality of a person to the world, subtle psychology, colloquial intonation, the search for a full-fledged word were proposed by the acmeists in response to the transcendent nature of the symbolists. The stylistic wanderings of the Symbolists and Futurists were replaced by exactingness to a single word, “chains of difficult forms”, religious and philosophical quests were replaced by a balance of metaphysics and the “local”. The acmeists preferred the poet's difficult service to the world to the idea of "art for art's sake" (the human and creative path of A. Akhmatova became the highest expression of such service).

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MBOU "Pogromskaya secondary school named after A.D. Bondarenko" Volokonovsky district of the Belgorod region
Acmeism as a literary trend Grade 11

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Goals:
introduce students to the concept of "acmeism"; highlight the main features of his poetics; to show the importance of acmeism for the development of Russian literature of the 20th century.

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Acmeism (from the Greek akme - the highest degree of something, flourishing, maturity, peak, tip)
To name, to know, to rip off the veils And idle secrets, and decrepit darkness - This is the first feat. A new feat - to sing praises to the Living Earth. S. Gorodetsky
More than once you will remember me And my whole world, exciting and strange ... N. Gumilyov

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Acmeism (1912 - 1913). concept
Acmeism is a modernist trend that declared a concrete-sensual perception of the outside world, a return to the word of its original, non-symbolic meaning.
As a literary trend, acmeism lasted about two years. In February 1914, it split.
There are no analogues to acmeism in other European literatures.

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Prerequisites
"Overcoming" symbolism
Continuity with symbolism
"Riot" on the "Tower" by V. Ivanov

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History of occurrence
"Tower" by V. Ivanov
"Workshop of Poets" 1911
Acmeism 1912

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The famous "Tower" by Vyacheslav Ivanov

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In the autumn of 1911, in the poetic salon of Vyacheslav Ivanov, the famous "Tower", where the poetic society gathered and poetry was read and discussed, a "revolt" broke out. Several talented young poets defiantly left the next meeting of the "Academy of Verse", outraged by the derogatory criticism of the "masters" of Symbolism.
On the "Tower"

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Origins of acmeism
In 1910, M. Kuzmin appeared in the Apollo magazine with an article “On Beautiful Clarity”, which anticipated the appearance of declarations of acmeism. By the time the article was written, Kuzmin was already a mature person, he had experience of cooperation in symbolist periodicals. Otherworldly and vague revelations of the Symbolists, "incomprehensible and dark in art" Kuzmin opposed "beautiful clarity", "clarism" (from the Greek clarus - clarity).
M. Kuzmin (1872 - 1936)

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Theoretical self-determination
1913 article by N. Gumilyov “The Legacy of Symbolism and Acmeism” article by S. Gorodetsky “Some Trends in Modern Russian Poetry”
They were published in the Apollo magazine (1913), edited by S. Makovsky.

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From N. Gumilyov's article "The Legacy of Symbolism and Acmeism":
“Symbolism is being replaced by a new direction, no matter how it is called, whether acmeism (from the word akme - the highest degree of something, blooming time) or adamism (a courageously firm and clear outlook on life), in any case, requiring a greater balance of power and a more precise knowledge of the relationship between subject and object than was the case in symbolism. However, in order for this trend to assert itself in its entirety and be a worthy successor to the previous one, it is necessary that it accept its legacy and answer all the questions posed by it. The glory of the ancestors obliges, and symbolism was a worthy father.

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From the article by S. Gorodetsky "Some currents in modern Russian poetry"
S. Gorodetsky believed that “symbolism… having filled the world with “correspondences”, turned it into a phantom, important only insofar as it… shines through other worlds, and belittled its high intrinsic value. Among the Acmeists, the rose again became good in itself, with its petals, smell and color, and not with its conceivable similarities with mystical love or anything else.

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S. Makovsky (1877 - 1962)
Apollo Magazine (cover)

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Main property
realistic view of things
At the core of aesthetics
the word must acquire its original meaning

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Basic principles of acmeism:
the liberation of poetry from symbolist appeals to the ideal, the return of clarity to it; rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness; the desire to give the word a specific, precise meaning; objectivity and clarity of images, sharpness of details; an appeal to a person, to the "authenticity" of his feelings; poetization of the world of primordial emotions, the primitive biological natural principle; echoes with past literary epochs, the broadest aesthetic associations, “longing for world culture”.

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"Workshop of poets" was founded in October 1911 in St. Petersburg
The group was headed by N. Gumilyov and S. Gorodetsky. The group also included A. Akhmatova, G. Adamovich, K. Vaginov, M. Zenkevich, G. Ivanov, V. Lozinsky, O. Mandelstam, V. Narbut, I. Odoevtseva, O. Otsup, V. Rozhdestvensky. "Tsekh" published the journal "Hyperborey".

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In the early 1910s (circa 1911–1912), a narrower and aesthetically more cohesive group of poets emerged from a wide circle of participants in the “Workshop”, who began to call themselves acmeists. The group included N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut (other members of the "Workshop", among them G. Adamovich, G. Ivanov, M. Lozinsky, constituted the periphery currents).
At the meetings of the "Tsekh", in contrast to the meetings of the Symbolists, specific issues were resolved: the "Tsekh" was a school for mastering poetic skills, a professional association.

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Acmeists
A. Akhmatova (1889 - 1966)
N. Gumilyov (1886 - 1921)
O. Mandelstam (1891 - 1937)

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Acmeists (Adamists)
S. Gorodetsky (1884 - 1967)
M. Zenkevich (1886 - 1973)
V. Narbut (1888 - 1938)

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Acmeism as a literary trend united exceptionally gifted poets - Gumilyov, Akhmatova, Mandelstam, whose creative individualities were formed in the atmosphere of the "Poets' Workshop". The history of acmeism can be viewed as a kind of dialogue between these three prominent representatives of it. At the same time, the Adamism of Gorodetsky, Zenkevich and Narbut, who made up the naturalistic wing of the current, differed significantly from the “pure” acmeism of the above-mentioned poets. The difference between the Adamists and the triad of Gumilyov - Akhmatova - Mandelstam has been repeatedly noted in criticism.

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The fate of the poets
The creative fates of poets, one way or another connected with acmeism, developed in different ways: N. Klyuev subsequently declared his non-participation in the activities of the community; G. Ivanov and G. Adamovich continued and developed many principles of acmeism in exile; Acmeism did not have any noticeable influence on V. Khlebnikov. In Soviet times, the poetic manner of the acmeists (mainly N. Gumilyov) was imitated by N. Tikhonov, E. Bagritsky, I. Selvinsky, M. Svetlov.

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Meaning
Acmeism proved to be extremely fruitful for Russian literature. Akhmatova and Mandelstam managed to leave behind "eternal words." Gumilyov appears in his poems as one of the brightest personalities of the cruel time of revolutions and world wars. And today, a century later, interest in acmeism has survived mainly because the work of these outstanding poets, who had a significant impact on the fate of Russian poetry of the 20th century, is associated with it.

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Sources
Journal "Literature at School" No. 3, 2002, pp. 30 - 32 Zolotareva I.V., Egorova N.V. Universal lesson developments in literature: grade 11, - Moscow "VAKO", 2009 http://ru.wikipedia.org/wiki/ http://www.licey.net/lit/poet20/acmeizm http://slova.org .ru/n/akmeizm/ http://encyclopaedia.biga.ru/enc/culture/AKMEIZM.html All photos and illustrations from the site: http://images.yandex.ru/

The principles of acmeism The liberation of poetry from symbolist calls to the ideal, the return to it of clarity, materiality, "joyful admiration of being"; The liberation of poetry from symbolist calls to the ideal, the return to it of clarity, materiality, "joyful admiration of being"; The desire to give the word a certain exact meaning, to base works on specific imagery, the requirement for “beautiful clarity”; The desire to give the word a certain exact meaning, to base works on specific imagery, the requirement for “beautiful clarity”; Appeal to a person, to the “authenticity of his feelings”; Appeal to a person, to the “authenticity of his feelings”; Poeticization of the world of primordial emotions, primitive biological nature, prehistoric life of the Earth and man. Poeticization of the world of primordial emotions, primitive biological nature, prehistoric life of the Earth and man.

The term acmeism was proposed in 1912 by N. Gumilyov and S. Gorodetsky: in their opinion, symbolism in crisis is being replaced by a direction that generalizes the experience of predecessors and leads the poet to new heights of creative achievements. The formation of acmeism is closely connected with the activities of the "Workshop of Poets", the central figure of which was the organizer of acmeism N. Gumilyov. Contemporaries gave the term other interpretations: Piast saw its origins in the pseudonym A. Akhmatova, which sounds like “akmatus” in Latin, some pointed to its connection with the Greek “acme” - “point”.

As a literary trend, acmeism did not last long - about two years (1913-1914), but one cannot ignore its ancestral ties with the "Poets' Workshop", as well as the decisive influence on the fate of Russian poetry of the twentieth century. Acmeism consisted of six of the most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. At the meetings of the "Tsekh", in contrast to the meetings of the Symbolists, specific issues were resolved: the "Tsekh" was a school for mastering poetic skills, a professional association. The creative destinies of poets who sympathized with acmeism developed in different ways: N. Klyuev subsequently declared his non-participation in the activities of the community, G. Adamovich and G. Ivanov continued and developed many principles of acmeism in emigration, acmeism did not have any effect on V. Khlebnikov noticeable influence.

The platform of the acmeists was the Apollo magazine, edited by S. Makovsky, in which the declarations of Gumilyov and Gorodetsky were published. The program of acmeism in "Apollo" included two main provisions: firstly, concreteness, materiality, versatility, and secondly, the improvement of poetic skills. The rationale for the new literary trend was given in the articles by N. Gumilyov The Heritage of Symbolism and Acmeism (1913), S. Gorodetsky Some Trends in Modern Russian Poetry (1913), O. Mandelstam Morning of Acmeism (1913, was not published in Apollo).

One of the main tasks of acmeism One of the main tasks of acmeism is to straighten out the bias characteristic of symbolism towards the otherworldly, to establish a “living balance” between the metaphysical and the earthly. The acmeists did not renounce metaphysics: “always remember the unknowable, but do not offend your thoughts about it with more or less probable guesses” - such is the principle of acmeism.

Poorly substantiated as a literary trend, acmeism united exceptionally gifted poets - N. Gumilyov, A. Akhmatova, O. Mandelstam, the formation of creative individuals of which took place in the atmosphere of the "Poet's Workshop", disputes about "beautiful clarity". The history of acmeism can be viewed as a kind of dialogue between its three prominent representatives. Subsequently, acmeistic poetics was complexly and ambiguously refracted in their work. O. Mandelstam N. Gumilyov A. Akhmatova

Elephant My love for you now is an elephant, Born in Berlin or Paris And stomping with cotton feet In the rooms of the menagerie owner. Don't offer him French rolls, Don't offer him cabbage rolls. He can only eat a slice of tangerine, A piece of sugar or a piece of candy. Do not cry, O tender one, that in a cramped cage He will become a laughing stock of the mob, So that cigar smoke will be blown into his nose by the clerks to the laughter of the midiettes. Do not think, my dear, that the day will come When, in a frenzy, he will break the chains And run through the streets, and will, Like a bus, crush people screaming. No, let you dream of him in the morning In brocade and copper, in ostrich feathers, Like the one, Magnificent, that once Carried Hannibal to the quivering Rome.

X x x I went crazy, oh strange boy, On Wednesday, at three o'clock! The ringing wasp pricked my ringing finger. I accidentally pressed her, And it seemed that she died, But the end of the poisoned sting Was sharper than the spindle. Will I cry for you, strange one, Will your face smile at me? Look! On the ring finger So beautifully smooth ring March 1913, Tsarskoye Selo

The local world of O. Mandelstam was marked by a sense of mortal fragility before faceless eternity. Mandelstam's acmeism is "the complicity of beings in a conspiracy against emptiness and non-existence." Among the acmeists, Mandelstam was distinguished by an unusually sharply developed sense of historicism. The thing is inscribed in his poetry in a cultural context, in a world warmed by “secret teleological warmth”: a person was surrounded not by impersonal objects, but by “utensils”, all the mentioned objects acquired biblical overtones.

American bar No girls yet to be seen in the bar, The footman is impolite and sullen; And in a strong cigar the American seems to have a caustic mind. The counter shines with red lacquer, And the soda-whiskey fort teases: Who is unfamiliar with the buffet sign And is not too hard in labels? Golden pile of bananas Just in case filed, And the wax saleswoman As imperturbable as the moon. First, we'll feel a little sad, We'll ask for coffee with curasso. In half a turn, our Fortune wheel will turn! Then, talking softly, I climb onto a swivel chair in a hat and, with straws Interfering with the ice, I listen to the rumble... The master's eye will not offend dreamers... We are dissatisfied with the light of the sun, With the flow of measured orbits! No later than June 1913

Acmeism strongly influenced the development of Russian poetry in emigration, the "Parisian note": G. Ivanov, G. Adamovich, N. Otsup, I. Odoevtseva emigrated to France from Gumilyov's students. The best poets of the Russian emigration G. Ivanov and G. Adamovich developed acmeistic principles: restraint, muffled intonation, expressive asceticism, subtle irony. In Soviet Russia, the manner of acmeists (mainly N. Gumilyov) was imitated by Nik. Tikhonov, I. Selvinsky, M. Svetlov, E. Bagritsky. Acmeism also had a significant impact on the author's song.

Acmeism united dissimilar creative individualities, manifested itself in various ways in the “spiritualized objectivity” of A. Akhmatova, the “distant wanderings” of M. Gumilyov, the poetry of O. Mandelstam’s reminiscences. The role of acmeism is in an effort to maintain a balance between symbolism, on the one hand, and realism, on the other. In the work of acmeists there are numerous points of contact with symbolists and realists (especially with the Russian psychological novel of the 19th century), but in general, representatives of acmeism found themselves in the “middle of contrast”, not slipping into metaphysics, but not “mooring to the ground”.

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Western European and domestic origins of acmeism Prepared by the teacher of the Russian language and literature of the 1st qualification category Strakhova Irina Aleksandrovna, MBOU "Polyanskaya secondary school" of the Spassky district of the Republic of Tatarstan

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Objectives: to give the concept of acmeism; highlight the main features of his poetics; give a brief description of the work of acmeist poets.

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"The retinue makes the king" Two of the largest poets of acmeism A. Akhmatova and O. Mandelstam already by the mid-1910s went beyond this school, and G. Ivanov and G. Adamovich most fully met the requirements of A. Akhmatov's acmeism O. Mandelstam G. Ivanov, G. Adamovich

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Acmeism is a modernist trend (from the Greek akme a point, peak, the highest degree, a pronounced quality), declaring a concrete-sensual perception of the outside world, returning the word to its original, non-symbolic meaning.

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The beginning of the creative path Young poets, future acmeists, were close to symbolism, visited "Ivanovo environments" in the St. Petersburg apartment (in the "tower") Vyach. Ivanova. Here, young poets were trained in versification. In October 1911, they founded a new literary association, the Workshop of Poets. The “Workshop” was a school of professional skill, and young poets N. Gumilyov and S. Gorodetsky became its leaders N. Gumilyov S. Gorodetsky, 1910

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Western European and domestic origins of acmeism The initiator of this peculiar "shop" of poets was Pushkin himself. Speaking as a faithful follower of the work of Peter the Great, Pushkin in almost every verse testifies to the deepest knowledge and the most subtle understanding of the national poetic element of each people. Pushkin's miracle could not be realized without a strong impetus from the dominant culture of that time, that is, French culture. Are not Voltaire and even Parny, not to mention Molière, Racine, Corneille, François Villon, the nameless authors of folk epic songs, Pushkin's creative stimulants on a par with Derzhavin and Batyushkov, or with fairy tales and legends of Russian folklore? Modernists discover a new Europe; they are attracted especially by France, but they are also receptive to the call of Africa and Asia, ancient historical and even prehistoric times.

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Western European and domestic origins of acmeism In the first collection of poems, The Path of the Conquistadors, Gumilyov fails to hide his dependence on those poets who too clearly influence his style: Bryusov and Balmont among Russians, and among French poets grouped around Modern Parnassus, in features of Ch. Leconte de Lisle and J. M. Heredia. The very image of the conquistador must have arisen in his mind when he saw a portrait of Heredia, one of his then most beloved poets, in luxurious sham armor of a conquistador. Critics have repeatedly noted that, as a poet, Gumilyov performed under a mask. And I am in the family of the hippopotamus: Dressed in the armor of my shrines, I walk solemnly and straight Without fear in the middle of the deserts. These verses from Theophile Gauthier's Miscellaneous Poems, masterfully translated by Gumilyov, could serve as an epigraph to his entire life.

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The association of acmeists existed for about 2 years (1913-1914). It also included A. Akhmatova, O. Mandelstam, M. Zenkevich, V. Narbut and others. In the article “The Legacy of Symbolism and Acmeism,” Gumilyov criticized symbolism for mysticism, for being fascinated by the “region of the unknown.” The article proclaimed "the intrinsic value of each phenomenon"

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Acmeism - Adamism Such an interpretation implied "a courageously firm and clear outlook on life." The world is spacious and polyphonic, And it is more polyphonic than rainbows, And now the world is entrusted to Adam, the Inventor of names. To name, to know, to rip off the veils And idle secrets, and decrepit darkness - This is the first feat. A new feat - to sing praises to the Living Earth. (S. Gorodetsky "Adam")

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Requirements of acmeism He believes in weight, he honors space, He dearly loves material, He did not reproach matter For slowness and constancy. Stanzas obedient quadriga He loves - violently dispersed - Stop. And in that he is right, That in eternity he is submissive to the moment. (1913, S. Gorodetsky to O. Mandelstam) Acmeists are interested in the real, not the other world, the beauty of life in its concrete sensory manifestations. Nebula and hints of symbolism were opposed by a major perception of reality, the authenticity of the image, and the clarity of the composition.

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Gumilyov's hero This is a traveler, a conquistador, a man of strong will. The poet's poems contain romantic motifs, geographical and historical exoticism. Graceful slenderness and bliss is given to him, And his skin is adorned with a magical pattern, With which only the moon dares to equal, Crushing and swaying on the moisture of wide lakes. (1907, "Giraffe") N.S. Gumilyov (1886-1921)

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Presentation on the topic: Acmeism is a literary trend in Russia

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Dictionary: acmeism is a modernist trend (highest degree, peak, blooming time) - which arose in the early twentieth century in Russia, declaring a concrete-sensual perception of the outside world, returning the word to its original, and not symbolic meaning. N. Gumilyov: “I proclaim the intrinsic value of the phenomena of life…” Romance and heroics are the basis of the poet's worldview. A. Akhmatova: “Is an ordinary detail significant?” The depth of psychologism is achieved with the help of a detail that becomes a sign of a heightened feeling. J. Mandelstam: "Clear rhythms with courageous pressure approached the spoken language and sincere intonation."

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Purpose: concrete-sensory perception of the external world, rejection of the nebula of symbolism. The current is aimed at reviving a person's thirst for life, returning a sense of its beauty. Exotic themes, love, nature, emotional experiences of a person. Attention to the word. Description detail. The desire to give the word an extremely precise, clear meaning. The main artistic means: metaphors, an oxymoron for a bright, major image of reality and giving a more capacious meaning to a detail. Features of acmeism

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The birth of a new poetry ... The term "acmeism" was proposed in 1912 by N. Gumilyov and S. M. Gorodetsky, who regards the struggle between symbolism and acmeism as a struggle "for this world, sounding, colorful, having shape, weight and time, for our planet Earth." In 1911, the association "Workshop of Poets" was founded, headed by Nikolai Gumilyov and Sergey Gorodetsky. In the autumn of 1912, a decision was made to create a new poetic trend - acmeism.

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Acmeism consisted of six of the most active participants in the movement: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. Akhmatova Anna Andreevna (1889-1966) Mandelstam Osip Emilievich (1891-1938) Gumilyov Nikolay Stepanovich (1886-1921) Gorodetsky Sergey Mitrofanovich (1884-1967)

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The legacy of the acmeists N. S. Gumilyov - "The legacy of symbolism and acmeism" (1913) S. M. Gorodetsky - "Some currents in modern Russian poetry" (1913) O. E. Mandelstam - article "Morning of acmeism" (1913) An important feature The poetry of acmeists are solid moral guidelines, installation on traditional human values: faith, honor, conscience, duty, kindness, love. Test yourself! - Who is in the photos?

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Music by Gorodetsky Sergei Mitrofanovich Gorodetsky was born on January 5, 1884 in St. Petersburg. In 1902 he entered the Faculty of History and Philology of St. Petersburg University. He enthusiastically studied Slavic languages, art history, Russian literature, and drew. He began writing poetry from childhood. The first book "Yar" (late 1906) reflected the poet's interest in folk art, in reproducing ancient Slavic mythology in forms close to modern literature and brought him fame. This theme is continued by the second collection of poems "Perun" (1907), which was no longer received so enthusiastically. How I loved you, my dear, My Russia, mother of freedom, When, languishing under the whip, Your great people were silent. In what blind and wild faith I waited for your Sunday! And now the doors of all prisons have fallen, I see your triumph. You are as majestic on a holiday, As before in slave poverty, When both your honor and glory were Crucified on the cross. Russia

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In the verses of the acmeists one could hear ... (Continuation of the poem) About the eternal peace of the entire universe, About will, brotherhood and love You sang selflessly To the peoples dying in blood. As the sun rises from the east, So the news comes from you, That there is an end to the cruel war, There is a living truth in people. And a day more beautiful than paradise is near, When enemies, when friends, Like chains, tearing fronts, Exclaim: "Your truth!" How I love you, Russia, When above the world your people Raised fire tablets, Tablets of eternal freedoms. One of the merits of S. Gorodetsky is the introduction of children's folklore into Russian literature. In the 1910s and 1920s, he wrote many books for children, collected children's drawings, and hatched plans to create his own children's newspaper. In 1945, Gorodetsky suffered a heavy loss - the death of a true friend and colleague of his entire creative life, his wife Anna Alekseevna Gorodetskaya (Nymph), to whom he dedicated the poem "Afterword" (1947). In 1956, after a long break, Gorodetsky's name reappeared in the central press, and a book of selected works was published. Gorodetsky died in June 1967 at the age of 84.

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The music of Osip Mandelstam… “For the acmeists, the conscious meaning of the word… The same beautiful form as music for the symbolists… Love existing things and your being more than yourself, this is the highest commandment of acmeism… The Middle Ages is dear to us because it never mixed different plans and to the otherworldly was treated with great restraint.” Osip Mandelstam

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Music by Osip Mandelstam Born on January 3, 1891. in Warsaw in the family of a master tanner, a small merchant. A year later, the family settled in Pavlovsk, then in 1897 moved to live in St. Petersburg. Here he graduated from one of the best St. Petersburg educational institutions - the Tenishevsky Commercial School, which gave him a solid knowledge in the humanities, this is where his passion for poetry began. In 1907, Mandelstam left for Paris, listened to lectures at the Sorbonne, met N. Gumilyov... Leningrad I returned to my city, familiar to tears, To veins, to children's swollen glands. You're back here, so swallow the fish oil of the Leningrad river lanterns, Get to know the December day, Where the yolk is mixed with the ominous tar. Petersburg! I don't want to die yet! You have my phone numbers. Leningrad! I still have addresses By which I will find the voices of the dead. I live on a black staircase, and a bell torn with meat hits my temple, And all night long I wait for dear guests, Moving the door chains with shackles. 1930

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Interest in literature, history, philosophy leads him to the University of Heidelberg. Mandelstam's literary debut took place in 1910, when five of his poems were published in the Apollon magazine. During these years, he was fond of the ideas and work of symbolist poets. In the autumn of 1933 he writes the poem "We live without smelling the country under us ...", for which he was arrested in May 1934. Only Bukharin's defense softened the sentence - they sent him to Cherdyn-on-Kama, where he stayed for two weeks, fell ill, and ended up in the hospital. He was sent to Voronezh, where he worked in newspapers and magazines, on the radio. Stage was sent to the Far East. In the transit camp on the Second River (now within the boundaries of Vladivostok) on December 27, 1938, O. Mandelstam died in the hospital barracks in the camp. The poet's wife, Nadezhda Mandelstam, and some of the poet's trusted friends preserved his poems, which in the 1960s had the opportunity to be published. There is no need to talk about anything, Nothing should be taught, And the dark animal soul is sad and good: It does not want to teach anything, Does not know how to speak at all And swims like a young dolphin Through the gray abysses of the world.

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Music by Anna Akhmatova… Anna Andreevna Akhmatova was born in the south of Russia, in Odessa, on June 11, 1889, in the Gorenko family. Two years later, the Gorenko couple moved to Tsarskoe Selo, where Anya studied at the Mariinsky Gymnasium. She was fluent in French, read Dante in the original. Anya Gorenko met her future husband, poet Nikolai Gumilyov, when she was still a fourteen-year-old girl. Later, a correspondence arose between them, and in 1909 Anna accepted Gumilyov's official offer to become his wife. On April 25, 1910, they got married in the Nicholas Church in the village of Nikolskaya Sloboda near Kiev. After the wedding, the young went on a honeymoon trip, having been in Paris all spring. Akhmatova's active literary activity began in the 1910s. At this time, the aspiring poetess met Blok, Balmont, Mayakovsky. She published her first poem under the pseudonym Anna Akhmatova at the age of twenty, and in 1912 the first collection of poems "Evening" was published.

slide number 16

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Alien prisoner! I don't need someone else's, I'm tired of counting my own. So why is it such a joy to see these cherry lips? Let him blaspheme and dishonor me, I hear his stifled groan in his words. No, he will never make me Think that he is passionately in love with another. And I will never believe that it is possible After heavenly and secret love Again laugh and cry anxiously And curse my kisses. 1917 Music by Anna Akhmatova... In March, Anna Andreevna accompanied Nikolai Gumilyov abroad, where he served in the Russian Expeditionary Force. And already in the next 1918, when he returned from London, there was a break between the spouses. In the autumn of the same year, Akhmatova married V. K. Shileiko, a scientist and translator of cuneiform texts. The poetess did not accept the October Revolution. For, as she wrote, "everything is plundered, sold ..."

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Music by Anna Akhmatova... December 1922 was marked by a new turn in Akhmatova's personal life. She moved in with art historian Nikolai Punin, who later became her third husband. The 1920s were marked by a new poetic rise of Akhmatova: the publication of the poetry collections Anno Domini and Plantain, which cemented her fame as an outstanding Russian poetess. Akhmatova's new poems were no longer published. Her poetic voice fell silent until 1940. Hard times have come for Anna Andreevna. In the early 1930s, her son Lev Gumilyov was repressed, having survived three arrests and spent 14 years in the camps. All these years, Anna Andreevna patiently fussed about the release of her son, as well as for her friend, the poet Osip Mandelstam, who was arrested at the same time. But if Lev Gumilyov was nevertheless subsequently rehabilitated, then Mandelstam died in 1938 in a transit camp on the way to Kolyma. Later, Akhmatova dedicated her great and bitter poem "Requiem" to the fate of thousands and thousands of prisoners and their unfortunate families. ……………………………… And the heart only asks for a quick death, Cursing the slowness of fate. Increasingly, the western wind brings Your reproaches and Your prayers. But do I dare to return to you? Under the pale sky of my homeland I only know how to sing and remember, And you don’t even dare to remember me. So the days go by, multiplying sorrows. How can I pray to the Lord for you? You guessed it: my love is such that even you couldn't kill it.

slide number 18

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Music by Anna Akhmatova... In the 1960s, Akhmatova finally received worldwide recognition. Her poems appeared in translations in Italian, English and French, and her poetry collections began to appear abroad. In 1962, Akhmatova was awarded the Etna-Taormina International Poetry Prize in connection with the 50th anniversary of her poetic activity. She did not complain about age, and old age took for granted. In the fall of 1965, Anna Andreevna suffered a fourth heart attack, and on March 5, 1966, she died in a cardiology sanatorium near Moscow. Akhmatova was buried at the Komarovsky cemetery near Leningrad. Until the end of her life, Anna Andreevna Akhmatova remained a Poet. And you, my friends of the last call! To mourn you, my life is spared. Above your memory, do not be ashamed of a weeping willow, But shout your names to the whole world! Yes, there are names! After all, it doesn't matter - you are with us! .. All on your knees, everyone! Crimson light poured out! And Leningraders again go through the smoke in rows - The living with the dead: for the glory of the dead there are none.

slide number 19

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Music by Nikolai Gumilev One of the leading acmeist poets was Nikolai Stepanovich Gumilev. In reality, his work was much wider and more varied, and his life was unusually interesting, although it ended tragically. Nikolai Stepanovich Gumilyov was born on April 3, 1886 in Kronstadt, where his father worked as a military doctor. Soon his father retired, and the family moved to Tsarskoye Selo. The October Revolution caught Gumilyov abroad, where he was sent in May 1917. In May 1918 he returned to revolutionary Petrograd. PHONE Unexpected and bold Female voice in the phone - How many sweet harmonies In this voice without a body! Happiness, your benevolent step Doesn't always pass by: Louder than the seraphim's lute You're on the phone too!

slide number 20

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Music by Nikolai Gumilyov She I know a woman: silence, Bitter fatigue from words, Lives in the mysterious flicker of Her dilated pupils. Her soul is greedily open Only to the copper music of the verse, Before life, valley and joyful, Arrogant and deaf. Inaudible and unhurried, Her step is so strangely smooth, You can’t call her beautiful, But all my happiness is in her. When I crave self-will And bold and proud - I go to her To learn wise sweet pain In her languor and delirium. She is bright in the hours of languor And holds lightning in her hand, And her dreams are clear, like shadows On the fiery sand of paradise. He was captured by the then tense literary atmosphere. Gumilyov recognized Soviet power, despite the fact that he was in difficult personal conditions of existence and that the country was in a state of ruin. But the life of N.S. Gumilev tragically ended in August 1921. For many years it was officially stated that the poet was shot for participating in a counter-revolutionary conspiracy.

slide number 21

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Music by Nikolai Gumilyov * * * You spoke empty words, And the girl blossomed, Here she combs her golden curls, In festive fun. Now, to all church requirements, Pray for yours. You became her sun, became her sky, You became her gentle rain. Eyes darken, smelling thunderstorms. Her sigh is uneven and frequent. She still brings roses, But you want, and life will give. Gumilyov's poetry in different periods of his creative life is very different. Sometimes he categorically denies the Symbolists, and sometimes he is so close to their work that it is difficult to guess that all these wonderful poems belong to one poet. The poet lived a very bright, but short life.

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slide number 23

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The basic principles of acmeism: - the liberation of poetry from symbolist appeals to the ideal, the return of clarity to it; - rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness; - the desire to give the word a specific, precise meaning; - objectivity and clarity of images, sharpness of details; - an appeal to a person, to the "authenticity" of his feelings; - poetization of the world of primordial emotions, primitive biological nature; - a call to past literary eras, the broadest aesthetic associations, "longing for world culture."

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Homework 1. Thu. pp. 137-159 2. Answer in writing according to the options: - the life path of A. Akhmatova; - J. Mandelstam's life path; - Teffi's life path. “Literature Grade 11” textbook, M., “Enlightenment” 2011 Article “Variety of artistic individualities of Silver Age poetry” L.A. Smirnova, M., Enlightenment, 2010 Co-author - Anna Vasilyeva, student of GBOU secondary school No. 71 http://ruspoeti.ru/aut/gorodetskij/4824/ http://mandelshtam.velchel.ru/ http://mandelshtam. velchel.ru/index.php?cn 5. http://www.stihi-us.ru/1/Ahmatova/4.htm https://www.google.ru/webhp?sourceid=chrome-instant

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